外文翻譯--服裝設(shè)計(jì)的藝術(shù)創(chuàng)作過(guò)程（節(jié)選）

1、<p>　　中文1850字,1050單詞，6000英文字符</p><p>　　出處：Rothenberg A, Sobel R S. A Creative Process in the Art of Costume Design[J]. Clothing and Textiles Research Journal, 1990, 9(1):27-36.</p><p><b

2、>　　原文</b></p><p>　　A Creative Process in the Art of Costume Design</p><p>　　Albert · Rothenberg ; Robert · Sobel</p><p>&l

3、t;b>　　Abstract</b></p><p>　　An empirical study of the psychology of creativity carried out over a period of more than 20 years has identified a specific creative operation called "homostadial p

4、rocess. This process has been shown to have an important function in various types of creative activities in the arts and sciences. As defined, the homostadial process consists of actively conceiving two or more discrete

5、 entities occupying the same mentally represented space or spatial location, a conception leading to the articulati</p><p>　　A technical method for facilitating homostadial thinking in costume design is desc

6、ribed. This method involves the use of slide transparencies superimposed on a projection screen from two separate light sources and reproduces the effect of discrete entities occupying the same space. Specific examples d

7、emonstrate the feasibility of using such a technique to facilitate the creative process of costume design. </p><p>　　An understanding of the field of costume naturally includes the artistic creative Process

8、of costume design. However, the idea of a scientific approach to creativity is fraught with difficulty. Although artists and others are keenly interested in understanding and explicating the nature of the creative proces

9、s, there is a tendency to view the scientist’s attempts in this area as hopelessly reductionistic. Scientists themselves are concerned about such a danger With respect to their work and, in </p><p>　　Althoug

10、h we purposely did not select elements that we ourselves believed in advance would produce suggestive new designs, the costumes depicted are surely new. Because of evidence from other artistic fields, we suspect that the

11、 type of superimpositions we have shown approximate events that occur mentally in the most creative Type of costume design. After a Dynamic interaction in the mind among the elements of a superimposed image, various type

12、s of elaborations, alterations, and transformations t</p><p>　　In this way, a homostadial process in costume design operates similarly as in other creative areas. In other visual arts, bringing together disc

13、rete entities into the same space suggests dynamic new relationships among visual shapes, forms, colors and lines. These new relationships are then articulated by the artist into new integrations in the form of paintings

14、, sculptures, or works of architecture. In other creative areas such as poetry, there are other integrations and unifications. Poets oft</p><p>　　The technological advantage of externalizing the superimposed

15、 sensory image aspect of the homospatial process is that such concrete representation can facilitate creative ideas, even for accomplished designers. Also, photographs of apparel rather than mental images of them potenti

16、ally enlarge the number and scope of elements that are brought together into the same spatial location. In producing the images we have presented here，for instance, we first systematically superimposed all of the photog&

17、lt;/p><p>　　In addition to direct creative facilitation, the device of superimposing costumes can also have a valuable educational function. Potentially elucidated by this procedure are topics such as history a

18、nd evolution of styles and designs. In order to illustrate evolution and developments, entire costumes and/or more limited aspects of the image can be superimposed, then separated and compared, For example, in order to d

19、emonstrate a style change in a shoulder line, a collar, or a sleeve, two costumes </p><p>　　Beside major creative productions, designers using photographic superimposition could test out minor alterations an

20、d revisions without necessarily constructing a completely new fabric or style. The limitation on all such construction procedures in clothing design, of course, is that photographs can neither reproduce tactile qualities

21、 nor, by and large, contour effects. Perhaps eventually some means can be discovered for carrying out superimposition with the tactile sense and additional sensory m</p><p><b>　　譯文  </b><

22、/p><p>　　服裝設(shè)計(jì)的藝術(shù)創(chuàng)作過(guò)程 </p><p>　　阿爾伯特·羅斯伯格;羅伯特·索貝爾</p><p><b>　　摘要</b></p><p>　　關(guān)于創(chuàng)造力心理學(xué)的實(shí)證研究已經(jīng)進(jìn)行了 20 多年的時(shí)間，目前已經(jīng)確定了一個(gè)特定的創(chuàng)造性的操作過(guò)程，稱為“人性化的創(chuàng)造過(guò)程”。這個(gè)過(guò)程已被證明，對(duì)

23、各種類型的藝術(shù)與科學(xué)領(lǐng)域的創(chuàng)造性活動(dòng)都有一個(gè)重要的作用。正如它的定義所言，這一人性化的創(chuàng)造過(guò)程需要通過(guò)積極地構(gòu)思和藝術(shù)性的兩種因素的結(jié)合，共同作用，只有這樣，才能造就一個(gè)富含人性的藝術(shù)品。 </p><p>　　促進(jìn)服裝的人性化設(shè)計(jì)思維，需要用到一種技術(shù)方法，這種方法涉及使用到將人性化因素的考慮及藝術(shù)性的構(gòu)思結(jié)合在一起，根據(jù)實(shí)證研究，表明使用這種可行性技術(shù)，可以促進(jìn)服裝設(shè)計(jì)的人性化藝術(shù)創(chuàng)作過(guò)程。 </p&g

24、t;<p>　　了解服裝的天然性因素，包括服裝設(shè)計(jì)的藝術(shù)創(chuàng)作過(guò)程。然而，科學(xué)方法的創(chuàng)造力是困難重重的。不過(guò)藝術(shù)家和其他人都對(duì)服裝設(shè)計(jì)的藝術(shù)創(chuàng)作過(guò)程的本質(zhì)都特別感興趣，都想理解和闡釋這意思本質(zhì)，有一種觀點(diǎn)認(rèn)為發(fā)明家在這個(gè)領(lǐng)域的努力沒(méi)什么效果的。這些發(fā)明家們也擔(dān)心這種情況，但這就是他們的工作。此外，發(fā)明家們可能都會(huì)比較感興趣，就是將他們的研究成果應(yīng)用于實(shí)際的創(chuàng)造性的嘗試。將研究結(jié)果應(yīng)用于實(shí)踐，通常會(huì)受到很多人的懷疑和輕視，因?yàn)?/p>

25、他們認(rèn)為，這看起來(lái)就像是擺弄?jiǎng)?chuàng)造的過(guò)程，他們認(rèn)為這一過(guò)程應(yīng)該受到強(qiáng)烈欽佩和尊重，而不能有任何隨意性。盡管存在這些困難，但是事實(shí)證明，這種富含技術(shù)性的創(chuàng)造過(guò)程，特別是應(yīng)用于服裝設(shè)計(jì)中，恰恰會(huì)導(dǎo)致有價(jià)值的和有趣的結(jié)果。本文關(guān)注的是思維創(chuàng)造性過(guò)程操作的實(shí)證分析，探討人性化地藝術(shù)性思維，這種思維應(yīng)被用于服裝設(shè)計(jì)領(lǐng)域中。 </p><p>　　雖然我們故意沒(méi)有選擇，那些我們相信會(huì)產(chǎn)生出新設(shè)計(jì)方案的那些元素，但 是不用擔(dān)心，

26、服裝設(shè)計(jì)依然會(huì)使用其他新的創(chuàng)造性思維。因?yàn)閬?lái)自其他藝術(shù)領(lǐng)域的因素，可以應(yīng)用到服裝設(shè)計(jì)過(guò)程中，我們展示了最近我們最具創(chuàng)意精神的服裝設(shè)計(jì)。在這一設(shè)計(jì)過(guò)程中，我們很好地將藝術(shù)性和人性化創(chuàng)造過(guò)程結(jié)合在一起，產(chǎn)生了新的服裝設(shè)計(jì)過(guò)程。這一創(chuàng)造過(guò)程產(chǎn)生了最新的面料，全新的風(fēng)格或復(fù)古風(fēng)格。 </p><p>　　使用這種方法，服裝設(shè)計(jì)過(guò)程中的這種人性化的設(shè)計(jì)，如其他領(lǐng)域的創(chuàng)造性設(shè)計(jì)一樣，都包含多元素的藝術(shù)創(chuàng)新思維。結(jié)合使用多種視

27、覺(jué)藝術(shù)，利用空間形狀視覺(jué)效果，以及色彩和線條等。這種新的藝術(shù)創(chuàng)造性設(shè)計(jì)過(guò)程也同樣應(yīng)用到繪畫(huà)、雕塑等作品中。其他的可利用的服裝設(shè)計(jì)元素，還有精神上的元素，包括文字本身和許多人們感官相關(guān)的體驗(yàn)，這些元素應(yīng)用到服裝的藝術(shù)性設(shè)計(jì)中，都可以給人們以感官及精神上的享受。從這些圖片、文字和感官體驗(yàn)，他們可以感覺(jué)到作品設(shè)計(jì)中的詩(shī)意。同樣，創(chuàng)意服裝設(shè)計(jì)師們可能會(huì)將這些感知方面的元素和其他與元素創(chuàng)造性地結(jié)合在一起，他們認(rèn)為這些項(xiàng)目元素應(yīng)該都是彼此相關(guān)的。

28、</p><p>　　外部工藝的疊加感官形象方面的技術(shù)優(yōu)勢(shì)是,這種具體的表現(xiàn)可以促進(jìn)設(shè)計(jì)師創(chuàng)造性的想法。此外,服裝的照片有可能擴(kuò)大到同一空間位置元素的數(shù)量和范圍。例如,在制作我們這里呈現(xiàn)的圖像時(shí),我們首先系統(tǒng)地疊加了我們所有的照片,而沒(méi)有任何關(guān)于哪對(duì)成對(duì)的概念。經(jīng)過(guò)約300 ~400對(duì)匹配,我們選擇了服裝和疊加攝影圖像,似乎表明最好的效果疊加過(guò)程。我們確信一個(gè)專業(yè)設(shè)計(jì)師會(huì)從一開(kāi)始就選擇特定的面料、風(fēng)格和設(shè)計(jì),這將

29、會(huì)特別令人興奮。在所有類型的創(chuàng)造性活動(dòng)中,過(guò)程的第一步是選擇可能帶來(lái)的有趣的離散元素。選擇拍攝照片的技術(shù)程序,將它們投影到屏幕上并疊加起來(lái),可以促進(jìn)經(jīng)驗(yàn)豐富或新手設(shè)計(jì)師的創(chuàng)作過(guò)程。例如德龍( 1987)關(guān)于服裝視覺(jué)分析和形體構(gòu)造以及注意結(jié)構(gòu)或表面設(shè)計(jì)原理的工作,可以為選擇提供基礎(chǔ)。</p><p>　　除了直接創(chuàng)造性的便利,疊加服裝的裝置也是一個(gè)寶貴的功能。這一過(guò)程可能闡明主題,如歷史風(fēng)格和設(shè)計(jì)的演變。為了說(shuō)明進(jìn)

30、化和發(fā)展,可以將整個(gè)服裝和更多的有限方面重疊,然后分開(kāi)比較。例如,為了展示高度相似的肩膀、衣領(lǐng)或袖子,兩個(gè)只在這些特定方面的服裝可以被疊加和分開(kāi)。</p><p>　　除了這些主要的創(chuàng)意服裝設(shè)計(jì)作品，設(shè)計(jì)師們也使用一些新的技術(shù)方法來(lái)進(jìn)行細(xì)微的改動(dòng)或修正，而不必去構(gòu)建一個(gè)全新的織物或風(fēng)格。所有此類的設(shè)計(jì)及制作程序都要考慮到這些創(chuàng)造性的設(shè)計(jì)元素，當(dāng)然，在服裝設(shè)計(jì)過(guò)程中，是不能直接將這些感官等方面的設(shè)計(jì)復(fù)制到作品中的，